Lettere di Livia Veneziani a Valery Larbaud, mediatore intellettuale nella fortuna postuma di Italo Svevo

This article is a commentary on three unpublished letters from the “Valery Larbaud” Multimedia Library of Vichy. The letters, reported here in their entirety, were written to Valery Larbaud by Livia Veneziani, Italo Svevo’s widow. In these letters, Mrs. Veneziani asks the French writer to convince James Joyce to write a preface in English for a new edition of the novel Senilità. At the moment of Svevo’s death, Joyce had promised Livia his unconditional support in promoting her husband’s works; but in time, he seemed to have gone back on his word. Thus, Larbaud remains Livia’s only hope in contacting Joyce. Although the friendship between Svevo and Joyce is widely renowned and many studies frequently focus on how it started and grew, little is known about its evolution. It is a fact that Joyce, above all, was responsible for “discovering Svevo” and was one of his most devoted admirers. However, these letters provide a more complete view of their relationship: they prove the existence of some kind of tension between the two writers

Da Schmitz a Svevo (e ritorno) : edizione critica e commentata dei carteggi di I. Svevo con J. Joyce, V. Larbaud, B. Crémieux, M.-A. Comnène, E. Montale e G. Prezzolini

Notre travail de thèse consiste en une édition commentée de la correspondance de l’écrivain triestin Italo Svevo autour de la question du "cas Svevo". Le choix de notre objet d'étude répond à une double motivation : tout d’abord il permet de mettre à jour la situation philologique des documents épistolaires concernés, mais aussi d'apercevoir d'une autre manière le rôle même de Svevo en tant qu’écrivain, de bousculer et remettre en question, à travers les paroles de l’auteur, certaines idées reçues que la vulgate critique a longtemps entretenues. Cette étude permet aussi d'envisager de quelle manière Svevo réagit aux accusations des milieux intellectuels italiens qui soulignent l'imperfection de sa langue, ses origines presque étrangères ou du moins triestines, c'est-à-dire périphériques, et son parcours littéraire décidément atypique.Ce travail ajoute, au matériel que nous possédions déjà, des documents inédits, repérés au long de ces années de doctorat dans des fonds et bibliothèques italiens et étrangers.The thesis consists in the commented edition of the correspondence between the writer Italo Svevo and those who took part in the “Svevo affair”. The main reasons for the choice of this topic are two: first of all, the present study allows for an update of the philological state of the documents involved; secondly, this work is an attempt to reinterpret Italo Svevo’s role as a writer, by using his words to question certain ideas passed along and established by the critical vulgata over a period of many years. This research also offers an insight on how the author responded to certain accusations raised by some Italian intellectual environments, whose main claims were related to his imperfect language, his almost foreign origins (or in other words, the marginality of his native city of Trieste), as well as to his anomalous literary career.This work has added more unpublished documents to the material previously acquired, which were found in Italian and foreign libraries and archives during my doctorate studies

Emilio FILIERI, Per un nuovo canzoniere. Seicento lirico fra F. Donno, A. Bruni e G. Fontanella, in Convegno Internazionale, Timisoara (Romania), CICCRE-Comunicazione e cultura nella Romània europea-VIa edizione, con il tema 'CANONE CULTURALE. CANONE LETTERARIO. CANONE LINGUISTICO' (organizzato dal Centro di Studi Romanzi di Timisoara-CSRT -Facoltà di Lettere, Storia e Teologia dell'Università di Ovest di Timisoara, in collaborazione con l'Università di Szeged, Ungheria).

Abstract: (Per un nuovo canzoniere. Seicento lirico fra F. Donno, A. Bruni e G. Fontanella) Nel primo Seicento l’approdo alla forma del canzoniere, modulato sul modello tassiano-bembesco, pare profondamente intaccato dall’impatto con le rime mariniane. Interessante così appare lo scorcio sulla lirica meridionale, che non trascura le sedi di Roma e di Venezia, ma che guarda a Napoli come centro di percorsi creativi e di proposte poetiche in versione politematico-emulativa. Autori come A. Bruni, F. Donno e G. Fontanella sembrano risentire inizialmente di una matrice protesa a una tensione sperimentalistica, fra accademie più disponibili alla nuova poetica della varietà-meraviglia e altri sodalizi impregnati del culto riservato al mito tassiano; ma in progresso di tempo alcuni autori non disconobbero le istanze di armonia classicistica acquisite nel contesto napoletano e ripensarono il proprio operare, sino a versi di tenera musicalità. Tra modi mariniani amplificati su una curiosa e libera esplorazione delle potenzialità del codice petrarchistico-bembesco, emergono pure linee interne, che non obliavano la lezione del Tasso per collegarsi alla poetica del Marino in aperture flessibile, illuminate dalle esperienze biografiche individuali, con personali innovazioni distanti dall’epigonismo, nelle rielaborazioni feconde e vivificatrici di un archetipo. Il processo di cambiamento del canone letterario incontrava così la relatività del gusto, in momenti di scarto e di recupero, ma in correlazione con lo spirito mosso e ricco del primo Seicento.'For a new canzoniere. Lyrics of the 17th among F. Donno, A. Bruni and G. Fontanella'-In the first part of the 17th century the portrayal of the canzoniere’s form, modulated on the Tasso-style model, is deeply affected by the impact with the Marino’s rhymes. Interestingly, it looks like the Southern opera, which does not neglect the seats of Rome and Venice, looks at Naples as the center of creative paths and poetic proposals, in a polythematic-emulation fashion. Authors such as A. Bruni, F. Donno, and G. Fontanella appear to be initially affected by a matrix of experimental tension, within the most available academies to the new poetics of wonder/variety or within other impregnated cult cultures to the myth of Tasso; but in the course of time some authors recognized the instances of classicist harmony acquired in the Neapolitan context and rethought their work in tender verses of tender musicality. Among the Marinian ways of amplification, with the effects of skillful virtuosity on a curious and free exploration of the potentials of Petrarca and Bembo code, internal lines also emerge, which did not obey the lesson of the Tasso and were linked to the poetics of Marino in an open and flexible way, also illuminated by individual biographical experiences with personal innovations, which are distant from epigonism, with fruitful re-elaborations of an archetype. The process of changing the literary canon thus met the relativity of taste, in times of waste and recovery, but in correlation with the thrill and rich spirit of the 17th century